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Tag: Gainax

  • Why Gainax’s ‘Gunbuster’ Pose Is More Than Anime Rule of Cool Reference Fodder

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    Anime of the late ’80s has an undeniable impact that extends beyond the medium into movies, TV shows, and video games. Many of the homages are to 1988’s Akira, which existed before Western culture had a grasp of what anime really was or could be. The “Akira slide”—an iconic shot of Kaneda sliding sideways on his bike in the 1988 movie adaptation of Akira—has become an icon of anime culture, referenced over and over in numerous cartoons and films, western and Japanese, ever since, including Jordan Peele’s NopeTron: Ares, and Metroid Prime 4: Beyond, amid an ocean of other Akira nods.

    While Akira references are rife in new media like Naughty Dog’s Intergalactic, letting fans know that the creators are aware of its rule of cool, it’s hard not to feel a bit like the buck stopped at aping aesthetics for easy internet referential brownie points over carrying over its core narrative themes. Although most pop culture nods (Scavengers Reign aside) borrow Akira‘s surface style without echoing its thematic depth, every homage to fellow 1988 anime film Gunbuster‘s iconic arm-cross pose endures as a timeless gesture of steeled resolve wrapped in a badass stance.

    The Gainax pose was popularized in Studio Gainax‘s 1988 original anime video (OVA) mech series Gunbuster, directed by Hideaki Anno, pre-Neon Genesis Evangelion. Despite the pose originating in Devilman creator Go Nagai and Ken Ishikawa’s 1975 manga Getter Robo G, the pose—which sees hero Noriko Tayaka piloting the eponymous mech in a commanding stance, crossing the goliath automaton’s arms like a cool guy—popularized it.

    Since this pose first captured the anime community’s attention, it has been referenced repeatedly, much as the Akira slide has been featured in various shows. Such examples include Gurren Lagann and Studio Trigger series Kill La Kill and Space Patrol Luluco, as well as video games like Gravity Rush 2. 

     

    Crossing one’s arms is generally understood as shorthand for looking cool—sort of like how wearing sunglasses and walking away without looking at explosions goes along with being a badass. It’s also body language that suggests the person doing it is closing themselves off to the world on some Sigma grindset type beat. In this context, that couldn’t be further from the truth, given that Gainax takes a perennially inspiring (and gender-affirming) stance, and I have empirical proof to back it up. 

    There’s a common belief that crossing your arms is a defensive posture (that anyone in a job interview should avoid doing) or that physically cutting yourself off from whatever you’re being yadda yadda’d about expresses disinterest. But it’s actually something else entirely. Speaking to Wired in 2022, former FBI agent and body language expert Joe Navarro revealed that posture is more about comfort.

    “It’s a self-hug. And even when you’re angry, the fact that you do this is to self-comfort yourself. Here you have two arms pressing against your visceral side, which provides a lot of comfort via the vagus nerve,” Navarro explained. “So there’s a lot of myths out there that this is a blocking behavior, or it’s a defensive behavior. It absolutely is not. It is a comforting behavior, and it needs to be recognized as such.”

    And boy howdy does Noriko have a lot of self-hugging to do, with the wringer Gunbuster puts her through as its plucky teenage protagonist.

    Long story short, Noriko suffers in the manner of Matthew McConaughey’s character in Interstellar, with a heavy dose of Evangelion‘s Shinji Ikari, in her distress at suddenly being important at work. Short story long, time dilation is a bitch that keeps Noriko from hanging out with her cherished school friends. She’s piloting a giant mech and conscripts the rest of her life to defend Earth from alien invasion. While her friends age in the blink of an eye, turning from fellow high schoolers into adults, she remains petrified at the same age, fighting an unwinnable war that only she can turn the tide of.

    As Earth’s technological prowess surges—humanity is now capable of engineering a black hole bomb in mere months—time itself becomes the cruelest invention. From Noriko’s perspective, decades pass in seconds. Her best friend is now an adult with a daughter of her own, and the space-time bending forces working against her have robbed her of her own childhood.

    What does Noriko do with all this immense pressure on her shoulders?

    She strikes the Gunbuster pose.

    The Gunbuster pose is, while unequivocally a fuck you to anyone at the other end of it, also a motif that crystallizes the burden of a girl torn from the springtime of her youth and cast into the cold machinery of interstellar war. Each second spent dodging tracer fire and blooming explosions stretches into an hour back home, where time slips through her fingers like stardust. With every stolen glance at Earth’s clock, she watches lives accelerate, relationships fade, and childhood vanish—just girl things, refracted through relativistic grief.

     

    For her, the mission is not a suicidal one, even though the immense amount of time it would take to return to Earth, should she succeed, could span centuries. Still, it presents an opportunity to fight for others’ lives, even if she can only sit under the same tree she helped plant, offering them shade to rest in. Not as a flourish, but as a declaration. A hero’s defiant scream is carved from pressure, grief, and unshakable resolve that she’ll prevail no matter the cost. After all, “If you live, tomorrow will always come.”

    Every time that pose is replicated, it transcends style cribbing and becomes a glyph of defiance and resolve. In essence, the Gainax pose is comparable to communicating Demon Slayer‘s rallying cry, “Set your heart ablaze,” or Naruto’s catchphrase, “Believe it.”

    But even more so, it’s one of those rare anime artifacts that speaks to the female experience, the steeling of one’s resolve, even when the fight seems perilous, and defiantly standing like a boulder against the raging sea. It’s resonant, easily replicable, and damn cool.

    You can watch Gunbuster on Hidive and Crunchyroll. It’s peak.

    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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    Isaiah Colbert

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  • Final Fantasy XVI Has A Neat Neon Genesis Evangelion Anime Nod

    Final Fantasy XVI Has A Neat Neon Genesis Evangelion Anime Nod

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    Screenshot: Gainax / Netflix / Kotaku

    Final Fantasy XVI, a more action-focused take on the RPG franchise, clearly pulls inspiration from a lot of other popular media. As Game Informer reported back in May, Square Enix was inspired by blockbuster films and hit series like Game of Thrones, Godzilla, and Neon Genesis Evangelion during the game’s development. And it’s that last source of inspo that is garnering attention after players noticed a detailed homage to the mecha anime series.

    Spoiler warning for Final Fantasy XVI.

    ResetEra forum user Lady Bow posted a video comparing a battle between anime protagonist Shinji Ikari and Sachiel in Neon Genesis Evangelion’s Tokyo-3 (a post-apocalyptic version of Tokyo) to a cataclysmic battle between Phoenix and Ifrit within the early hours of FFXVI. 

    Read More: All Of The Internet’s Urgent Final Fantasy XVI Questions, Answered

    The Ifrit fight (which is playable in the demo, btw!), takes place between two summons, which manifest in FFXVI by basically turning the player into a giant kaiju version of a deity. Early in the game, one of the outposts in the game’s fictional kingdom of Rosaria is ambushed. Phoenix does its damndest to protect it from the rampaging Ifrit. Unfortunately, the Phoenix getting torn from ass to appetite in the scene is Joshua, the younger brother of FFXVI protag, Clive. You can check out a GIF of the video below.

    Gif: Square Enix / Gainax / Netflix / Kotaku / Lady Bow

    And just like in NGE with Shinj and Eva Unit 01, this fight showcases a point-of-view-esque depiction of the gigantic kaiju mounting its adversary and dishing out wild strikes to their face before clubbing them with a double-arm hammer fist punch.

    The similarities between the fights also makes Clive begging the hulking titan to cease his onslaught all the more tragic. Clive’s desperate plea somewhat mirrors Shinji begging his father, Gendo Ikari, to stop his mecha from crushing his friend’s entry plug after his unit went AWOL. They’re like poetry because they rhyme, you see.

    And there you have it: not only is Final Fantasy XVI a video game with similar grit and political subterfuge as George R.R. Martin’s Game of Thrones series and bombastic Devil May Cry-esque action, but it’s also the latest video game to pay homage to NGE creator Hideaki Anno’s body of work. We love to see it.

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    Isaiah Colbert

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